JOHN McCABE, COMPOSER AND PIANIST by Guy Rickards For the best part of half a century, John McCabe has pursued one of the most distinguished and diverse careers in British music, embracing the creative (as a composer and a writer), the executive (as one of the country’s leading pianists) and the educative (as a teacher and administrator); he also has books on Bartók, Rachmaninov and Rawsthorne to his credit. A prolific composer, he has nine symphonies to his name – if one includes early scores for organ (1961) and wind ensemble (1964) – and nearly thirty concertos, as well as the ballets Mary, Queen of Scots (1975), Edward II (1994–95) and Arthur (1998–2000) and a host of other instrumental, chamber, vocal and orchestral works. McCabe was born in Huyton, Lancashire, on 21 April 1939, of mixed Irish-Scottish and German- Finnish descent, although his outlook is decidedly English, down to a passionate devotion to cricket (and occasionally trenchant criticism of the national team). At the age of three, he was severely burned in an accident that left him prone to bouts of illness as a child. As a partial consequence, he had time to discover music early on through his parents’ record collection and decided to become a composer, rattling off thirteen symphonies by the age of eleven. But as with two other – very different – P characters, Harold Truscott and Dudley Moore, who also came to music through childhood ill-health, performance became a vital part of his artistic make-up. It was perhaps inevitable that he would then study music – first composition at Manchester University (1958–60), with Humphrey Procter-Gregg, from whose class McCabe was expelled for having dared to play one of his own works in a recital at his old school, and then (1961–62) at the Royal Manchester College of Music with Thomas Pitfield, where he was also a piano student of Gordon Green. In 1964 he attended the Munich Hochschule für Musik, where his composition teacher was the erstwhile Hindemith pupil, Harald Genzmer. He first came to wider notice as a pianist, his unusually wide sympathies covering music from the Elizabethan era to the present day. Although making British music has been central to his performing career – not least when he was pianist-in-residence at University College, Cardiff, between 1965 and 1968 – his repertoire has an intercontinental base and he has performed around the globe, including the USA, Denmark, Netherlands, Spain, the Middle East, Hong Kong and Australia as well as in Great Britain. In 1969 he was a piano prize-winner in the prestigious Gaudeamus competition in the 2 Netherlands and in 1975 he received a Special Award from the Composers’ Guild of Great Britain for his services to British music – at a time when his project to record the complete set of Haydn’s 54 sonatas and a substantial clutch of variations and miscellania plus the Seven Last Words of the Redeemer on the Cross was well under way. The five volumes, released on LP between 1975 and 1977, were justly hailed (by Nicholas Rast in Gramophone in December 1995) on their CD reissue, on the London label, as ‘one of the great recorded monuments of the keyboard repertoire’. Whether performing his own or others’ music, McCabe possesses a flair for communication and rapport with his audience that puts one in mind of another underestimated composer-pianist, Ronald Stevenson. McCabe’s lasting mark in the recording studio was carried beyond Haydn with important issues of music by Bax (including the original piano-sonata version of the First Symphony) on Continuum, Hindemith (the best available accounts of Ludus tonalis and the 1922 Suite) and Howells on Hyperion, two albums of Nielsen for Decca, Rawsthorne for Dutton Epoch and Satie, most recently reissued by Regis. With Tamami Honma – a noted champion of McCabe’s piano music for whom he has written several recent works – he made a fascinating disc of two-piano pieces including Stravinsky’s own reduction of his ballet Agon, Colin McPhee’s Balinese Ceremonial Music, works by Athanasiadis, Britten and Copland, plus his own Basse Danse; those performances appeared on the Dutton Epoch label. His most recently released recording was of archival performances, mostly from 1972, of English pieces by Bax, Holst, Ireland, Joubert, Moeran, Vaughan Williams and Warlock plus a 1968 account of Britten’s then new Notturno; it was issued in 2009 by the British Music Society. In 1966 his profile as a composer was much enhanced when Sir John Barbirolli gave the premiere of his First Symphony, Elegy, at the Cheltenham Festival; six years later Louis Frémaux conducted that of the song-cycle Notturni ed Alba. Another notable success came in 1984 with the first performances of the Concerto for Orchestra by the London Symphony Orchestra under Sir Georg Solti, and in 1989 the tone poem Fire at Durilgai was unveiled in Manchester by the BBC Philharmonic conducted by Sir Edward Downes, a success expanded on later that year at the Proms. Unsurprisingly, piano music has featured prominently in McCabe’s worklist, with over two dozen pieces including his first published work – the Variations, Op. 22 – the expanding and kaleidoscopic series of (currently twelve) large-scale piano studies, the much-acclaimed Haydn Variations and Tenebrae, which is featured in this ‘farewell recital’. Guy Rickards is a freelance writer on music and regular contributor to Gramophone, Tempo and International Piano. he author of two biographical studies for Phaidon, Hindemith, Hartmann, Henze (1995) and Jean Sibelius (1997), he has also written several articles on the music of John McCabe, including three chapters in the life-and-works study edited by George Odam, Landscapes of the Mind (Ashgate, Farnham, 2008). 3 A NOTE ON MY ‘FAREWELL RECITAL’ by John McCabe I wanted to finish my formal solo career at the Presteigne Festival, with which I’ve had a long and deeply valued association, and the choice of repertoire was very important to me. There had to be a Schubert sonata (the other candidate for the concert was the big D major, d845, but that was too long for this event), and I have in recent decades always tried to sneak Ravel in whenever possible – the Valses nobles is one of my favourite piano works. Inevitably, I wanted to do one of my own pieces, and I particularly wanted to play Tenebrae, as I believe it to be one of my better works. I also programmed Haydn (the G minor Sonata, Hob. XVI: 44) and, of three works chosen from among many by compatriots that I wanted to play, Robert Saxton’s Chacony, but since I have recordings of both of these in the catalogue, it gave an opportunity to programme this CD to include all the other pieces – and to rejig the order slightly (the Schubert was originally at the end of the concert). The encore, Bridge’s Heart’s Ease, seemed a perfect way to finish. THE MUSIC by John McCabe, Emily Howard and John Casken Franz Peter Schubert (1797–1828): Sonata in A minor, d784 A minor was a particularly fruitful key for Schubert when writing piano sonatas. Of the three magnificent examples in this key, the earliest, d537, is on a relatively small scale, though its power and vitality belies the neglect it has suffered. The last of the three, d845, is on a massive symphonic scale, with four movements. d784, the central panel of this triptych, is also possessed of a symphonic grandeur that places it firmly in the pantheon of pianistic masterpieces, even though there are only three movements, and two of those relatively short. The epic stature of the work derives from the opening sonata-form Allegro giusto: it has a Brucknerian scope, even a bleakness anticipating the Sibelius of some eighty years later (the Sonata dates from 1823). The material of the opening movement is simplicity itself: two main themes, both in themselves simple and economical, linked by a single rhythmic motif which comes to dominate the development section. This motif, a long note followed by a short one and then a rest, gives the music a searching hesitancy, and it is a pity that so often performers, presumably mistrusting audiences’ capacity to respond to this quality, either pedal through the rests or sustain the notes – thus seriously undermining the whole point and character of the music. 4 The two remaining movements are much shorter, but together they have an intensity that balances that of the first. The Andante is based on a lovely, flowing melody possessed of the intervallic range and song-like lyricism notably absent from the Allegro (for all the beauty of its second subject) – it forms an oasis of peace in an otherwise emotionally highly charged work. The main theme of the rondo finale, based on scale patterns, reverts to the simplicity and intensity of the material of the Allegro giusto, and although it is contrasted with a sensitive, lyrical second theme with a waltz-like lilt, the dominant mood is turbulent, requiring a higher degree of virtuosity than before and leading to a powerful and dramatic conclusion in double octaves. JM Emily Howard Like John McCabe, I was born in Liverpool (in 1979) and retain strong links with the city. My first orchestral work, Magnetite, was commissioned by Liverpool European Capital of Culture 2008 for the Royal Liverpool Philharmonic conducted by Vasily Petrenko. In 2012, my first opera, Zátopek!, commissioned by Second Movement as part of New Music 20x12, a programme of new works for the London 2012 Cultural Olympiad, will receive its first performance in Liverpool before travelling to London and the Czech Republic.